Category Archives: subjectivity

Use of self in fiction & nonfiction

The reblogged post above is by Cristian Mihai, a young Romanian fiction writer, a self-publisher with a big following, and a talented blogger with many fans. After my last post, which mused about differences between the practice of fiction and nonfiction, I was struck by Chuck Palahniuk’s quote regarding the use of self in fiction—it applies as well to nonfiction. Especially to personal and dramatized nonfiction, to memoir essays and books.

Writing about the broken or pained self without the mask of fiction, however, takes an honesty and a tolerance for nakedness that not everyone possesses or desires to experience. Maybe some would say an egotism. Each writer draws upon experience and the self’s responses to life, but memoirists do so more directly, while many fiction writers learn to draw from themselves indirectly and by inference. Memoirists use the self much as poets do, it seems to me, but without the scrim of possibly fictional artifice provided by a poetic structure . . . Richard Gilbert

4 Comments

Filed under emotion, fiction, honesty, memoir, NOTED, subjectivity

Truth and beauty redux

Nonfiction faces challenges in writing from another’s point of view; but do the genre’s constraints limit its claims to art?

A version of the post below first appeared January 20, 2009. I was thinking about it because I re-read Tim O’Brien’s revered short story “The Things They Carried,” and read for the first time Ron Hansen’s immortal short story “Wickedness,” both of them very essayistic. And O’Brien’s, anyway, is often claimed by practitioners of creative nonfiction because it seems autobiographical. It is based on his experience as a soldier in Vietnam, though the central arc about a young officer leading his platoon is surely fictionalized heavily if not completely; Hansen’s story is based on a mythic blizzard that (apparently) hit Nebraska round about 1888.

There is no reason whatsoever—in theory—that nonfiction cannot do the same thing these stories do, with their deeply subjective third-person omniscient points of view. Tracy Kidder has approached it and some others; for Among Schoolchildren he spent a year in a third-grade classroom, watching, and then interviewed the teacher every day about what she’d been thinking when, say, little Johnny acted out just before recess.

But this approach requires such intimate and exhaustive interviewing and cooperation that, in practice, one can see why God created fiction . . . It’s simply too much work and too hard for most writers, and they cannot shape the key characters the same way a fiction writer can to serve her ends.

• • •

I’ve touched often on the issue of truth in nonfiction, but the latest scandal, involving a fictionalized Holocaust memoir, impels me to return. (Oprah keeps falling for these stories that are too good to be true. Truth often is stranger than fiction but it’s seldom as shapely.)

I tell students these are three reasons for honesty:

 Practical: A nonfiction writer will destroy his credibility and career by lying. This is an embarrassing reason, as it’s so utilitarian, but perhaps compelling to sociopaths.

 Moral: You made an implicit promise that details, scenes, characters, and dialogue wouldn’t be invented or embellished. Recreated, yes, and clearly selected and filtered through a particular consciousness, but not conveniently made up.

 Aesthetic: Nonfiction’s art often flows out of the rough places where writers don’t have what they need. They must explore that on the page or conduct more research. Immerse. Writer and writing theorist Robert Root made an interesting point about this in his essay “This is What the Spaces Say”:

The issue of truth, which seldom surfaces in other literary genres, perplexes nonfictionists. We begin in reality, in the hope of achieving some better understanding of the actual through writing. The inventions and manipulations of character and plot that are the hallmark of the novelist’s creativity are the barriers of the nonfictionist’s psychology; the willingness to settle for the fictionist’s ‘higher truth through fabrication’ negates the nonfictionist’s chances of even visiting the vicinity of the kind of earthbound and actual truth that is nonfiction’s special province. The truth is hard to know, and it’s hard, ultimately, to explain, perhaps especially about our own lives, what we experience as participants, what we observe as spectators.

My three rules are simple statements about this slippery issue. Do such rules—any rules—diminish nonfiction’s claim to art?

I know a painter, a man who’s spent his long life blessedly staring at southern Ohio’s hills, who told me he doesn’t invent details. No flowers by the gate if there weren’t. And that picturesque old wooden gate was truly that, not a shiny modern metal one. I should have asked him why, though I thought I knew: a representational painter who invents might insert iris blooming when the rest of the painting says High Summer. Sure, a crafty dauber could add daylilies. But soon there’d be no end to it and he’d lose the essence of what he was trying to capture. Inauthenticity would creep in.

My friend’s aesthetic, based in honoring objective details subjectively seen, gropes toward and honors a larger truth or feeling—something he’s sensed and which he’d violate at some unknown peril to his art. We understand more than we know. His creative acts include choosing the scene and deciding where he stands—the point of view. And the painting itself is literally and metaphorically impressionistic, what he sees.

Nonfiction’s (few) rules similarly do not interfere with artistry—there’s more to art than that; consider the edicts that result in sonnets. Although my visual friend has made himself a strict rule akin to nonfiction’s imperatives, his landscapes are glowing art.

6 Comments

Filed under fiction, honesty, Persona, Voice, POV, poetry, subjectivity, teaching, education

One writing teacher’s plight

A short story writer, essayist, novelist, memoirist, editor, and writing workshop leader, Paulette Bates Alden has an impressive blog and web site.  Her wise essays on writing technique and aspects of memoir are stimulating and useful. Lately I’ve been enjoying her short story archives.

“Enormously Valuable” is about Miriam, an adjunct writing teacher in Minneapolis at a middling state school and its branch campuses. A former Stegner Fellow at Stanford (like Alden herself), Miriam has published a well-reviewed short story collection and teaches three courses a term. Low pay, no benefits. When a permanent job, with benefits, comes open at twice the pay, she’s passed over for a more recent MFA, a man, who has a hot new book out.

Was what happened to her sexist, as she claims? Yeah, probably, in effect.

But Rupert, a liberal, enlightened faculty member, Miriam’s direct supervisor as the head of creative writing, epitomizes the structural reason—academia’s caste system within America’s—why Miriam struggles financially and suffers emotionally. To her, a supporting player who teaches mostly introductory classes, he’s oblivious to his own relative privilege. Yet it’s easy to intuit his beef: he’s underpaid, too, and is burdened with committee work and advising on top of it; maybe he has a doctorate, not just an MFA; anyway, unlike her, he must publish or perish.

And beyond this, Miriam sees the crux of her case: she’s invisible and shopworn; her rival is fresh and sexy.

Dutiful Miriam, having accrued a pattern of success in the hiring committee’s own bailiwick, has earned the job—even if the other guy, largely untested as a teacher, might be a better writer, as she fears. As the committee views it (and none but Rupert even halfway sees this woman toiling in their vineyard), he’ll attract buzz and accrue fresh prestige to the department—and he seems more likely to publish another book, or at least to do so more quickly. Given the deal they’ve cut for him, that’s surely true.

But while “Enormously Valuable” arises from this arcane employment situation, it’s much more. The portrait of the sensitive but superficial Rupert, and Miriam’s reaction to him, is delicious. She reads him well and interestingly—such inner subjectivity is perhaps writing’s strongest draw—and the story is thus deeply layered.

Nuanced subjective truths emerge as she becomes the shocked witness to his—and to her own—human virtues and flaws. He’s no monster and is pained by her pain. Yet Miriam’s complaint becomes, to him, about his discomfort over her anger and what he sees as her ingratitude. He’s been so nice to her!

The other short story I’ve read from the archive (they’re linked stories about Miriam) is “The Student,” about one of her students who tries to kill himself. Inherently dramatic and gripping—what will happen to this kid?—the story’s exploration of Miriam’s confused feelings becomes equally compelling. A brilliant student, he’s her secret favorite in the class, and she’s horrified by what he’s done to himself. She also feels maternal, girlish, and old. Her welter of emotions rings true, and her surprising confusion is ultimately as mysterious as this gifted, lost kid.

2 Comments

Filed under fiction, memoir, MFA, Persona, Voice, POV, subjectivity, teaching, education

Any memoirist’s dilemma

“A fundamental dilemma for autobiographical essayists is how exactly to navigate between the necessity to write and the sinking realization that it may not really matter to anyone else. All writers, all artists, deal with this problem, of course, especially at this point in time, when via the blogosphere and social media literally millions of autobiographical missives are launched weekly, each voice clamoring for an audience of careful, sympathetic readers.”

I can really relate to this quote from Joe Bonomo’s post “The Silhouette,” on his blog No Such Thing as Was. Recently I read a classic memoir I found tedious (more another time on that book) and am now reading a celebrated one that deals with an extremely dysfunctional family but doesn’t engage me. The writer has “great” stories, because his life was so disordered, but why should anyone else care? Well, there’s morbid interest, surely a lesser value. There’s also the writer’s need to testify and ours to receive. There’s his attempt to render life’s jagged experiences artfully, which appears to be his motive—to make something, as Sartre said, that has been made of him.

And I think this memoirist was motivated by more than sheer ego, as I hope I am, so what gives? (Halfway through the book, I think it’s starting to take off.) Why do some writers draw us into their personal stories without offending us, and how might we do it ourselves? There seems something larger about successful personal writing that transcends mere egoistic display, but this is a slippery thing I don’t understand. I think my own motive in writing a memoir is, at base, to share my experience of love and loss. But ego can creep in.

I remember when I was getting my MFA and giving a reading after I’d been writing hard for a whole year. What I read was personal, the seeds of my current book, but I shared it in a generous spirit: gee whiz, look at this. There was an impersonal quality to my feeling about the writing; I was proud, sure, but had a certain distance; it was clear to me that the work and I were separate entities. Then, a year later, at my reading for my graduation, ego struck. For some reason I was insecure, and my desire was for attention—more for me than for the work, I think; the experience made me feel needy and craven. The writing itself was okay, but my rambling, needless prologue, had I been listening in the audience, would have caused me to grind my teeth, or walk out.

One of the things I learned writing professionally for magazines and newspapers was that the more you work on a piece, the more you see it as an object outside yourself and the less it functions as an ego extension. You feel, at some level, frustrated with a work that’s near completion, especially if it’s good, and  welcome help. All editorial suggestions may not please you, but they can’t offend.

I’m still learning how to use the self in the essay or journalistic piece; since each work is different I always will be. In his environmental journalism, Michael Pollan is really good at making himself a character in order to further the story. (See an earlier post, “Michael Pollan on narrative journalism.”) He says it’s vital to show his evolution, his blundering, his process, in order to avoid the dull journalistic know-it-all voice. Readers surely do crave the personal and also to be on the journey with the writer. This is very subtle, though, and still begs the question of why some deeply personal stories pull me in and others leave me indifferent or repelled. Wish I knew.

10 Comments

Filed under audience, essay-personal, journalism, memoir, NOTED, subjectivity

Fairness & John McPhee’s ‘Archdruid’

[H]uman judgment tells you what to do in journalism—not god or the rule book or the facts. That’s not a trivial point: journalism is saturated with judgment, and a lot of that judgment belongs to the individual journalist. The trouble arises (and this is the whole reason we have the bias debate) because American journalists some time ago took refuge in objectivity, and began to base their authority on a claim to have removed bias from the news.—Jay Rosen

“What’s with you ex-newspaper guys, so angry at newspapers?” the memoirist asked me. She had written for twenty years for The New Yorker. I’d been foaming at the mouth over the peculiar frustrations a newspaper reporter can feel from practicing the conventions of the objective style. “Newspapers,” she said, “are a great training ground for writers.”

“Yes, they are,” I said. “But I’ll try to explain. Remember in the 1960s the incident where a Times reporter who was covering school desegregation in Arkansas rescued a little black girl from a white mob? He pulled her into his car. If you’d been covering that story for The New Yorker, your colleagues would have slapped you on the back. You might even have written about how it felt to save her. He was criticized for getting involved in the story.”

That silenced her, though she shot me a cool look. I don’t think she understood—I don’t, either. But I do know that the writer’s task is to become ever more human; in America, at least, the journalist’s task has been to figure out what a journalist would do. And good luck with that, because most of the craft’s conventions aren’t spelled out but, rather, sensed and sussed and absorbed.

All this comes back, my conversation with the New Yorker writer turned memoirist and my fraught relationship with objectivity, whenever I visit Jay Rosen’s Press Think blog, subtitled “Ghost of Democracy in the Media Machine,” which worries the subject—deliciously painfully for me—like a tongue probing a sore loose tooth.

The objective style would scrub the writer from her prose; it relies on a “he said/she said” format with little or no authorial intervention. Newswriters rarely may reveal their impressions or unveil their hypotheses; they must find sources who’ll speak for them. The objective style exists partly for good, or at least for practical, reasons. And it can lead to brilliant public service reportage, partly because of the rigor and even the cruelty of its constraints. (I once tried to teach a middle-aged lawyer in a reporting class how to build a case journalistically and failed spectacularly—I couldn’t get across how it’s done and merely enraged a man who already knew how to make an argument, at least in his world.)

In the early 1980s, unhappy with my crass editors at a Florida newspaper, I read books and diagnosed their problem as micro-ethics: I was convinced that they’d print, during riots, instructions on how to make a Molotov cocktail—in the interest of public knowledge, of course—and this narrowness was an outgrowth of the objective style. As for me, I read John Merrill’s books on existential journalism and liked the notion of the journalist revealing himself but trying to be fair. Ted Williams wrote a great article around 1980 for Audubon on fishing tournaments, which he revealed he despised. But the piece was fair and even sympathetic to the participants in this activity he openly deplored. I doubted this model would never fly in newspapers—too many time and space constraints, plus reporters functioned not as free agents—as writers, as in magazines—but rather as representatives of an institution. Okay, but it seemed sad that the deracinnated style of reporters on the news side, pursuing miscreants, bled perniciously into the features section and even constrained columnists.

Over several more years I got good at the objective style, but a stone of discontent had lodged in my breast. Once, frustrated by the low level of discussion about writing at a newspaper conference, I wrote an essay, “Traces of the Writer at Work: Overcoming the Enshrinement of Craft in Journalism,” and argued passionately—to myself, for the essay wasn’t published, or submitted—that the profession’s inability to acknowledge the reporter-as-writer was deforming and retarding. Of course even journalists covering school board meetings feel their work is creative—it is—but the objective format itself denies this, specifically that the work is shaped; meanwhile readers sense it must be the product of selection rather than of mere transcription and can become bored, suspicious, hostile. I believed, and still do, that the objective format allows reporters and editors, who’ve followed their “rules” after all, to abdicate responsibility for how they operate and for what they publish.

But not necessarily. It can be done usefully and well.

And Exhibit A in the complexity of this subject, the use of the self in journalism, is John McPhee’s brilliant Encounters with the Archdruid. McPhee went on wilderness hiking and raft trips with legendary preservationist David Brower and three of his sworn enemies, men who develop pristine islands for golf courses and condos, who mine iconic mountains for copper, and who dam wild rivers for boaters and hydroelectric power. Presented as the ultimate tree-hugger, the top druid of the book’s title, Brower is a fascinating figure. But so are the hard-nosed, hard-fisted men of the world who grind their teeth over Brower’s tactics (he’ll lie to the public if it helps save one scrap of wilderness). And they point out, We need to live somewhere, we need minerals, and we need power.

McPhee, known for his reticence about using his persona overtly in his work, set up these encounters in which sparks fly, though he doesn’t bother discussing that obvious point. His admiration and affection is palpable both for Brower and the men he’s picked to accompany and argue with Brower. More to the point: McPhee refuses to take a side. He lets Brower and his foes each have their say. Having presented the complexity of his topic, human need vs. environmental preservation, McPhee throws the burden onto the reader to make her own decision. Partisans on both sides have attacked the book for its bias. I’ve read it several times and it’s impossible to discern McPhee’s position. I believe he must side with Brower, who, though an extremist, makes the compelling case that we should refuse to molest the tiny percentage of wilderness that remains comparatively untouched.

But that’s the position I’ve come to, and I can’t blame McPhee for it. In Encounters with the Archdruid he goes beyond my ideal of a forthright existential journalism into a Zen-like “objectivity” that, paradoxically, places the existential burden of taking a position on the reader. It’s impossible to engage with Encounters and remain a mere voyeur. It’s an amazing performance. Of course McPhee, as a writer (an inquiring and shaping intelligence), saturates the book. But he refuses to guide the reader to a conclusion, beyond the arguments and evidence and personalities he presents.

The book, as rare and risky as its approach is, complicates my feelings about the objective style. (All successful examples of which, I believe, are based on deeply subjective decisions.) And McPhee’s restrained use here of self—so intrinsic to writing, as to any art—stands as a corrective model to the contrary approach in journalistic narratives: excessive “I” deployment when the writer’s role is already obvious and, anyway, he’s orchestrated the whole shebang.

2 Comments

Filed under honesty, journalism, subjectivity

Honesty in memoir, ver. 3.2

John D’Agata’s new book About a Mountain portrays Congress deciding to make Yucca mountain a nuclear dump, and, as if in response, a sixteen-year-old boy makes a suicide leap off the balcony of a skeevy Las Vegas hotel. In an otherwise rave review last February in The New York Times Book Review, Charles Bock took D’Agata to task for changing the date of the boy’s death to better serve his narrative (D’Agata gave the correct date in a footnote). D’Agata is a gifted writer but what he did there does seem, well, weird. Using the actual date surely wouldn’t have undercut his emotionally associating it with another event.

Bock writes of D’Agata’s choice:

In pursuing his moral questions, he plays fast and loose with a verifiable historical date, one involving a kid’s suicide. He does this just for the sake of a tight narrative hook. To me, the problem isn’t solved by a footnote saying, Hey, this part of my gorgeous prose is a lie, but since I admit it, you can still trust me. Rather, it damages the moral authority of D’Agata’s voice, which is his narrative’s main engine. It causes me to question the particulars of two other important scenes that, according to endnotes, were actually composites — a visit to a mall and a tour of Yucca Mountain. I don’t know what to think. What’s specific or representative or smudged? Pandora’s box is wide open.

Bock is the author of an acclaimed novel, but he’s as offended as some fuddy-duddy journalist defending the franchise against this openly admitted instance of creative license in nonfiction. Many folks are policing the nonfiction genre. There’s no telling who’s going to shout out a rule for practitioners. But does memoir differ from literary journalism like D’Agata’s? What of that memoirist who remembers every facial expression and each slant of light from twenty years before?

I think she’s using both memory and imagination in trying to convey an emotion-laden fragment of personal, otherwise private, and completely subjective experience. For us to feel it, we must share it. And to experience that moment, resonant within a larger, lost world, we must trust and rely upon the writer’s imagination as much as we believe in her core memory. Otherwise, she can only summarize, not convey. But the story must be true, and with as many telling particulars as can be summoned.

Sophisticated readers understand that much fiction is drawn closely from experience, and perhaps we’re coming to understand that successful memoirs contain some fiction—not falsehoods or gross distortions, but the writer’s attempt to feel her way back into the past and to take us with her. I agree with David Shields in Reality Hunger that memoir is literature, not a public record—not reportage. Though it is nonfiction, it’s very different from coverage of a city council meeting or even from a literary journalism participatory account or immersion profile.

Of course, the chief problem of writing about this issue is that it sounds, inescapably, like you are rationalizing deceit. As if you’re approving of those who make up or wildly exaggerate their basic narratives, or that you do it yourself. I imagine this is what keeps more writers from addressing the subtleties of this aspect of memoir. However, in his impressive Art of Time in Memoir: Then, Again, Sven Birkerts tackles the subject of “what are the limits of invention in memoir,” and he defends Vivian Gornick, who several years ago ignited a flap when she admitted to a roomful of journalists that some incidents in her memoir Fierce Attachments were “composite recreations,” as Birkerts terms it.

He writes:

Common sense tells us that not all so-called nonfiction can be—or needs to be—accountable to the same standards of strictness. Documentary reportage, kin to journalism in its treatment of character and circumstance, is pledged to absolute factual veracity, though I doubt any work in the genre is completely free of grace notes and bits of embroidery. But memoir, a genre that not only depends upon memory, but has the relation of past to present itself as an implicit part of its subject matter, is different. So much of the substance of memoir is not what exactly happened? but, rather, what is the expressive truth of the past, the truth of feeling that answers to the effect of events and relationships on a life? And from this angle, Gornick’s conflations make sense; for she uses them to better, more truthfully (if not more accurately) communicate the essential nature of what she is after. What she is doing—heightening, conferring definition—is in some ways not so different from what writers like Nabokov and Woolf are doing when the zoom in on minute particulars to the exclusion of the more customary narrative proportions. The truth is in the specific psychic residue, not in the faithful mapping of episodes to external events.

 

I offer this knowing that there will be many people who disagree. But it seems to me that memoir, unlike reportage, serves the spirit of the past, not the letter. Indeed, no one who reads memoir believes—how could they?—that exchanges happened exactly as set down, or that key events have not been inflected to achieve the necessary effect. The question is only how much departure is tolerable, and at what point does the modified recollection turn into fiction?

The grayness of his position—regarding honesty as a private, individual burden—won’t satisfy rule-makers. My provisional stance is that memoir must be honest not in the micro-ethics way reportage is, because of superficial facts (“true” even if they create the wrong impression), but in the macro-ethics sense of writing, in which the challenge is for the writing to be true in the deepest and widest sense and for the writer to become ever more human through its practice. Memoir reflects the reality that our memories are sifted and tumbled and recreated, rather than being fixed in an unchanging inner transcript. The memoirist melds discovered inner truths and feelings with fragments of memory into art that conveys lived reality. A simple statement at the front of a memoir I read recently pretty much gets it: “This is a true story. Some names and details have been changed.”

Those details! Since the writer is never the same person who experienced those details in the first place, isn’t his selection itself a form of fiction? And the person being portrayed perhaps wasn’t consciously aware at the time of those details, or he was focused on others, or saw them gradually, in memory. So what is true? In an interview about The Men in My Country, her spare, elegiac memoir about her affairs with three men during the time she spent teaching school in Japan, former journalist Marilyn Abildskov argues for the word “authenticity” for memoir rather than “truth.”

I get frustrated with the whole debate about accuracy and whether or not the memoirist can make something up because I don’t think it’s the right question or the most interesting question or the most useful question. When you write, you’re making something up. It’s that simple.  You’re putting words onto the page; creating something you hope seems whole.  You’re using your imagination.  Even if you’re writing from memory—maybe especially—you’re using your imagination. You’re trying to create this thing that’s alive. And you’re doing what a novelist does only instead of asking that age-old question that prompts fiction—What if? —you’re turning to your past, asking:  “What was that?  Who were those people?”  So maybe literary memoirs should be called memory-novels.

In this interview, with Jennie Durrant for Mary: A Journal of New Writing, Abildskov said she consulted her notebooks, which were sometimes useful, and added about memory:

There are things that you just don’t forget.  These things are imprinted onto you.  And the job writing-wise becomes making meaning out of that that someone else will understand. That’s why I don’t think the issue of accuracy is as important as authenticity. And I don’t know how else to say it except that there is something incredibly authentic about the personal essays and memoirs that have meant the most to me, some trueness of voice . . .

 

I remember a friend reading the manuscript in an early form and saying there was way too much logistical information about getting from A to B. Which I think comes from a desire to be accurate. And then what I had to do was shed that desire and go deeper, find a more purposeful interiority, the voice of vulnerability, and rely on that, hope that the emotional truth could rise from that. But you’re figuring all that out along the way. You, too, as a writer, have to go from A to B, boring as that may sound, and make all these mistakes, the ones everyone makes, in order to figure out the more important stuff. . . . And there’s something to be said for the imagination of the memory. We all embroider, and isn’t that a wonderful thing? The minute we tell a story, we’re going to add some details, because that’s the nature of storytelling: it’s the nature of reinventing.

I think I’m going to steal her word, authenticity, so rich and nuanced compared with the reductive “truth” or the slippery “honesty.”

(Abildskov’s complete interview with Durrant is here on the Mary site.)

6 Comments

Filed under audience, creative nonfiction, discovery, fiction, honesty, journalism, memoir, scene, subjectivity

Honesty in memoir, ver. 3.1

After reading David Shields’s anti-narrative yawp Reality Hunger, I happened to be rereading Vivian Gornick’s influential treatise on nonfiction, The Situation and the Story, and saw that she holds a far different view of the reason for the memoir explosion of our time—and she holds as well a different prescription: not more voice, the talking heads Shields loves, but more of that damned story apparatus that he hates. Gornick believes modernist writers’ turn from narrative is a reason many readers have turned to memoir. She writes:

To begin with, modernism has run its course and left us stripped of the pleasures of narrative: a state of reading affairs that has grown oppressive. For many years now our novels have been all voice: a voice speaking to us from inside its own emotional space, anchored neither in plot nor in circumstance. To be sure, this voice has spoken the history of our time—of lives ungrounded, trapped in interiority—well enough to impose meaning and create literature. It has also driven the storytelling impulse underground. That impulse—to tell a tale rich in context, alive to situation, shot through with event and perspective—is as strong in human beings as the need to eat food and breathe air: it may be suppressed but it can never be destroyed.

As the twentieth century wore on, and the sound of voice alone grew less compelling—its insights repetitive, its wisdom wearisome—the longing for narration rose up again, asserting the oldest claim on the reading heart . . . the literalism of the newly returned ‘tale.’ What, after all, could be more literal than The Story of My Life now being told by Everywoman and Everyman?

Shields and Gornick are both guessing about what’s going on, of course, she less insistently than he. Where these theorists stand together is in their view that memoir is literature, and subject to the rules of literary art, not journalism. My basic reason for agreeing has to do not only with belief in fidelity to personal truth but also to adherence to the imperatives of narrative storytelling that Shields decries. Gornick offers an elegant definition of her vision of artistic memoir:

A memoir is a work of sustained narrative prose controlled by an idea of the self under obligation to lift from the raw material of life a tale that will shape experience, transform event, deliver wisdom. Truth in a memoir is achieved not through a recital of actual events; it is achieved when the reader comes to believe that the writer is working hard to engage with the experience at hand. What happened to the writer is not what matters; what matters is the large sense the writer is able to make of what happened. For that the power of a writing imagination is required. As V.S. Pritchett once said of the genre, “It’s all in the art. You get no credit for living.”

Memoirs attempt to let readers share an experience so that they might understand it. And scenes, the way to render experience, demand lots of details. When recreating something, I’ve told nonfiction writing students, let the reader know that you “imagine” if there are things you can’t remember clearly. And I mention how nonfiction’s art often flows into and out of ragged holes in narrative that the writer refuses to close with details conveniently invented but, rather, that he enters into and explores.

Yet as a reader, I’ve realized recently, I’m seldom bothered by memoirists who don’t flag their imaginings—as long as I believe their essential stories. I saw that, unconsciously, I’ll grant a writer quite a bit of license—I suspend disbelief—if I believe her essential truthfulness.

For instance, in a scene involving a writer recreating a key moment—a line of dialogue or a particular action—there’s additional setting and details to show how things looked and felt. As the writer fleshes out this scene, is there any way she remembers—from twenty years ago— how someone’s fingers trembled against his red ceramic mug as an errant breeze lifted his dark, center-parted hair off his pale forehead, so that for an instant it appeared that two wings had flexed from his brow to carry him away before falling back, as if discouraged?

Unlikely, to say the least. But she’s imagining herself back into the past and taking the reader with her, seeking her story’s essential truth. Anyone who doesn’t know that this is how memoir differs from journalism, but is still nonfiction, hasn’t written a memoir, or has written an untrue or unreadable one, or hasn’t really read a successful one. The photographic level of detail in Angela’s Ashes, anyone?

And the alternative to accepting that memoirs recreate and that that takes imagination is the madness of splitting hairs and trying to find gottcha rules. Does it matter whether something is portrayed as “remembered” instead of as it “actually” happened—as if that can even be distinguished in most cases? And should it be a concern—memory vs. some record, if it exists—ethical concerns regarding real people aside? Does it matter whether a composite or typical action is employed to epitomize something the writer’s trying hard to convey? Such niggling is why some novelists express contempt for memoir—not because it’s falsified but because it’s insufficiently transformed into a truthful representation of reality by a writer who’s instead preoccupied by straining at gnats.

Bottom line: Memoirs are just like novels, except the writer has to stick to his memory of actual events—and can’t pretend that what’s portrayed didn’t happen to him. Yep, it was you your mother beat, not a little Hispanic girl. In a recent New Yorker (April 5, 2010) Thomas Mallon quotes from Murial Spark’s 1981 novel Loitering with Intent, about a writer hired by the director of a autobiography association to help its members craft their memoirs:

What is truth? I could have realized these people with my fun and games with their real-life stories, while Sir Quentin was destroying them with his needling after frankness. When people say that nothing happens in their lives I believe them. But you must understand that everything happens to an artist; time is always redeemed, nothing is lost and wonders never cease.

Each memoirist and nonfiction writer should ponder what honesty actually means. In any case, this issue won’t die as memoir ascends as a genre. Much of what honesty means in memoir is a writer’s ability and willingness to give the low-down on himself.

Next: Macro- vs. micro-ethics in writing, and a memoirist argues for “authenticity” rather than “truth.”

Comments Off on Honesty in memoir, ver. 3.1

Filed under creative nonfiction, fiction, honesty, memoir, scene, subjectivity, teaching, education